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Author Topic: Prom 7: London Philharmonic Orchestra & Orchestre National de France - Masur  (Read 368 times)
tonybob
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vrooooooooooooooom


« on: 07:25:01, 18-07-2007 »

masur is a half decent bruckner conductor, but no more.
for me he joins the ranks of 'worthy but dull' conductors of which there are so many at the moment.
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sososo s & i.
Alison
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« Reply #1 on: 10:34:21, 18-07-2007 »

Old age doesnt seem to have brought about many fresh insights.

He was pretty good 20 odd years ago.

The orchestral sound should be interesting though these two band affairs rarely seem to produce anything memorable.
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eruanto
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« Reply #2 on: 12:05:15, 18-07-2007 »

Having sung under Masur at one point, I can say that for all his faults he certainly knows how to get results. By whatever means (including making soprano soloist cry) he made damned sure that his vision of the piece (Elijah) was the one we were on the wavelength of.

Wagner tubas. YAY.
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harrumph
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« Reply #3 on: 13:45:15, 18-07-2007 »

We had Bruckner 7 last year, and played by a peerless orchestra (the BPO) at that. Why do it again? Why not programme number 3 instead? or number 6? Either of those I would have attended; as it is, I'll be in the pub.
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Bryn
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« Reply #4 on: 14:00:15, 18-07-2007 »

I was going to attend tonight, but after the poor rear of the Arena sound last night, I have decided to give it a miss.
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Ron Dough
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« Reply #5 on: 14:22:45, 18-07-2007 »

It really is a hit and miss auditorium, isn't it? Having not been for decades I was able to manage just one concert last year, and was pretty disappointed. Staggered to discover just how much better the programme sounded in the off-air repeat...
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eruanto
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« Reply #6 on: 10:58:41, 19-07-2007 »

The sound was pretty amazing, particularly the brass, which on several occasions nearly blew us off our feet.

Surprised to see nobody's commented on the mishap at the end of the Wagner encore... In the bars up to the final rendition of the main theme, Masur wanted to do an accelerando. The strings followed him all right, but the brass did a ritardando instead. When the theme arrived, the cymbal player got in a kerfuffle and followed the brass, therefore the clash appeared on the third beat of the bar!!

Masur shook his head and in the bars that followed just stood there and let the orchestra sort things out for themselves.  Cheesy

[ed] o and the double basses must be mentioned. TWELVE of the big things, all lined up at the back of the stage. Sound to die for. Just been over to the other place and shocked at what i've read about the Bruckner. Obviously didn't come over too well on t'radio.
« Last Edit: 11:53:50, 19-07-2007 by eruanto » Logged
time_is_now
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« Reply #7 on: 20:26:01, 19-07-2007 »

I'm not sure that downbeats are KM's strong point, eru. A certain British composer I'd better not mention who had a NY Phil premiere a few years back commented that he'd never been conducted in onethousandandtwentysix-four before ... Cheesy
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